"I want to do a
lot of things that don't make sense[1]"
To what extent does
Barry Jenkins' feature film 'Moonlight' subvert toxic hyper-masculine
representations of Black men in film?
There have been numerous studies addressing the
issues on the representation of women in media, leading to findings of
countless evidence showing stereotypical and narrow roles which play on effect
the audiences perception of gender. However, the issues concerning
representations of men in the media and research for it is limited and hasn't
gained analysis to raise a generalised conclusion. This study will explore how
different masculinity are presented, in the Oscar winning movie 'Moonlight' dir.
by Barry Jenkins, and measure the extent of "hyper masculinity-exaggerated
and marginalised masculine qualities"[2]. Laughey
states that ‘‘Ethnic minorities are continually misrepresented by racial (and
racist) stereotypes”[3]. which
'Moonlight' tries to do by subverting mages typically seen in film about Black
men and the communities, but, Jenkins also reinforces these stereotypical
scenes as stereotypes which can be "true and positive"[4] are able
to picture a realistic representation of people. This essay will go onto to
explore the portrayal of Black men and sexuality in the movie, focusing on the
coming of age of a gay Black man are dissimilar in the face of a mainstream
white Hollywood film. Referencing to hyper masculine images formed of Black
males in Blaxploitation films and Black male leading films showing how such
traits have been made toxic in stereotype of Black men. This study will also
look at 'Queer Theory' and how this can be applied to 'Moonlight' as the theory
would state how "representations of sexuality in mainstream pop culture
continues to [be] rampantly homosexual"[5] which
can be applied to the movie, but questions, does having a Black gay man
directing the movie change depictions of sexuality and race in the film. Thus,
this essay will outline complexities of the Black male image in film and using
'queer theory' to show the extent of subversion of hyper masculinity in
'Moonlight'.
Essentially, “masculinity” is a set of behaviours
and practices that’s have been traditionally associated with men and manhood in
our culture and that includes both positive and negative things, none of these
traits are inherent or biological traits of men but have been adopted in many
cultures and fed through the consumption of media on different platforms. In the documentary, 'Black Hollywood'[6],
Jim Brown states that blaxploitation films made under white control and
production took advantage of the black audience and black actors, creating cheaply
produced films which often perpetuated stereotypical images of black men and
women[7];
which is evident in 'Shaft'[8].
However, 'Toxic hyper-masculinity'[9] is a
loose term that is used to refer to a subset of those behaviours which are
deemed harmful and destructive. It is often used as shorthand to describe
behaviours linked to domination, humiliation and control marked by emotional
detachments and hyper competitiveness. Also, it is connected to the sexual
objectification of women, as well as, other predatory sexual behaviours linking
very closely with aggression, intimidation and violence. The modifier
"toxic" is used to highlight the fact that these kinds of behaviours
carry with them some potentially serious and even deadly consequences. Much of
this masculinity is "relational", and as such, it's mostly defined in
opposition to anything culturally associated with women, which is why
"toxic masculinity" is driven by this overwhelmingly fear of
emasculation, that is to say, the fear of being perceived by others as
"feminine" would link to the idea of being "unmanly". Many
of the popular male heroes in movies are depicted as engaging in at least a few
of these behaviours, but because they are depicted as the "good guys"
their actions are framed as admirable displays of strength, power and manhood.
And even when those behaviours are not celebrated, it's often framed as
acceptable or normal and then excused as "boys being boys" (a toxic
ideology in itself). The mistaken impression of "toxic masculinity"
is that everything about masculinity is somehow toxic and that is what men
"are" rather than what they "become"- from conforming to
destructive behaviours. The toxicity of masculinity has led to the production
of film characters ranging from Biff in “Back to the Future”[10] to all the Schwarzenegger in “The Terminator”[11]. In
fact, the term "toxic masculinity" is used very deliberately to try
and differentiate the more damaging or destructive male behaviours from
positive male behaviours, it's used to reinforce that there are many different
types of and formulations of masculinities or as R.W Connell states
"different masculinities"[12] which
is why the topic of hyper masculinity has become a “crisis”.
‘Moonlight’ called a “sermon”[13]
for Black masculinity, is an Arthouse Indie Black 'Coming of Age' movie
following the life of Chiron in three specific chapters of his life conversing Black maleness/masculinity, but more specifically Black
male sexuality, as well as, Black male intimacy and youth. The movie itself is
set in three parts of the growing character of Chiron and shows the ever
changing aspects of Black male “masculinity and
femininity which attract the global audience"[14].
The play jumps around in time, but Barry Jenkins decided he wanted the film to
be three distinct parts. Hsiao-Hsien Hou’s 'Three Times'[15] was a
big inspiration on what he was aiming for. “I wanted to show the progression of
this character and how the world can nurture him in a certain way that
basically causes drastic changes in this guy from one stage to the next”[16]. Though
Jenkins does subvert hyper masculine images of Black men that have become toxic
in media there are still ideologies of the angry Black man archetype. In the documentary, 'Black Hollywood', Jim
Brown discusses that Blaxploitation films that were under white control and production
took advantage of the Black audience and Black actors, in order to create
cheaply produced films which often perpetuated stereotypical images of Black
men and women; which is evident in 'Shaft', are used to “exploit the black
audience”[17]. The ability to just not
conform to those stereotypes of Black men isn't seen in many Blaxploitation
films because of their time, though flashy and different, they do not refrain
from commenting on Black men as overly masculine, scary and angry. ‘Moonlight’ is
able to bring a representation that uses stereotypes positively to bring
realism to its characters and showcase masculinities on a spectrum that enables
audiences to identify and engage with the movie itself.
The beginning of the film introduces
audience to the song choice of the song. When audience closes their eyes and
hears only melody of the song, they would hear the soothing and calm rhyme if
the words of song contains the derogatory term used for Black people which
conveys the opposite. Once lyrics are sung, listeners will hear the derogatory
word instead of the calming tones in the background, however, the lyrics state
"Every n***a is a star" which is a juxtaposition of words with the
negativity held in the derogatory word and the positive, powerful and heavenly
ideas known for a star. This contrast in the lyrics represent how society has
held beliefs and stereotypes of Black people as unaccomplished and not
beautiful, thus, this song subverts such images by stating that even in the
negative imagery of Black people there is still positive and hold their own
power. The films dominant audience would be young Black people from 15-30+ and
such a phrase would resonate with this audience due to the issue of society
representing Black people as under-performers in schools, works etc. ,
and having a word that has become ambiguous in meaning and a colloquialism for
Black people the phrase may resonate with such an audience. One minute
into the film and Barry Jenkins has already represented one type of
juxtaposition through his song choice and encapsulated his main demographic
from the opening.
The screen fades from the title of
'PASTEL’, one of the production companies for the film, to black then opening
up to a medium shot of a blue car pulling up to the sidewalk of a vacant town
street. In the car the audience is introduced to the character Juan, who
plays, high ranked drug dealer soon to be checking up on one of his
sellers to see how business is going. For the second time, we are seeing
the use of juxtaposition in the scene while not through sound but physically in
the interior of Juan's car. The use of a mid-shot is useful as the audience is
able to see Juan in addition to all his surroundings. On the font
dashboard there is a crown and a cigarette at close proximity; which he threw
when pulling up the street, the two objects individually hold
positive connotations and one negative. The crown and cigarettes being
placed in Juan's car symbolises the mixed role model Juan will be for Chiron. The
crown symbolises the power and respect Juan ultimately has within his
neighbourhood, seen when he is the drug overseer for others and
distribute to Chiron's mother and throughout the film; the nicotine
representing the dark side of his life. As we know, Juan is a major role model
throughout Chiron's childhood, even though he is flawed and misguided because
of varying factors. Additionally, the colour of the car should be noted,
the car is a light shade of blue, almost as if it presents water or purity, the
exterior of the car is the only part of the car someone from the outside may
view and so externally the blue seems calm and serene, whereas, the interior
shows his Juan's own internal conflict due to the crown and cigarettes.
This shows the complexity of Juan's personality and own masculinity; as easily
changeable to fit his environment and how he is one character wearing a
mask from the start. Juan exists the car leaving his own interior and
putting on the calming and smooth mask of the exterior (car), the camera now
follows him from the behind positioning the audience to follow his
direction and the commotion between two men in front of him which he
walks to.
The cinematography used here is
incredibly smooth and swift due to the use of a 360 camera angle. The
camera slowly pans and revolves around the characters; the
purpose for the style of shot is to establish Juan's characterisation as
smooth, chill, well-known in both the neighbourhood and society, he audience’s
own perception is created of the characters they are to see; “people associate young black men with crime in American
culture”[18]. I believe, it
also is used that way so the audience can get a glimpse of the sought
neighbourhood they are in, when traditionally, a long shot would be used to
establish setting, 'Moonlight' rather makes the film more immersive with
the rotating camera movements. The organised way the characters sell drugs
are sold in the film is portrayed extremely realistically, the realism is
conveyed thought the film earning its acclaimed award. Viewers are
made to feel engaged in this scene as well as seeing the scene in every
characters point on view (POV shot). This concept of a circular view connects
to the theme of cycles , the 360 degree shot of this scene symbolises that
cycles appear throughout the film, such as, Chiron having to break the cycle of
doing drugs in his family or spending his childhood with Juan and
eventually circling into the same path as Juan currently has. ‘Moonlight’ captures
the zeitgeist of Black men in society as many Black males being in certain low
income or broken family situations become part of gangs, drug dealers or
incarceration due to a certain cycle and expectation for them to not do well.
To add, images perpetuated by mass media such as Rap/Hip-hop music artist like
Snoop Dogg, Cheif Keef or Young Jeezy etc. reinforced the ideology that
masculinity is “synonymous with hyper-sexuality,
anger, criminality, and violence”[19].
Questionable lyrics and images portrayed in their videos and lyrics make a
toxic socialisation showing Black males to think that anger and rage are the
narrowed down emotions to be felt, this further reinforces the ability for
media to forge a construct of masculinity which makes absence of emotions a
concept of a man this “serve[s] to reinforce the
dominate ideological views .."[20] But
also “instil erotic sadism in the black male
child”[21].
Additionally, the 360 degree view is always
moving which provides a disorientating experience for the viewer;
this unsettling feeling illustrates the intensity of the situation
between the drug dealer and the middle man. Lastly, in this moment we see two
men one of young age and one of an older age staring into each other’s eyes as
if they were each other’s mirror's, in the scene, one may imagine the addict
was once a young man and the young is seen as a suture addict showing the
concept of cycles and juxtaposition.
The composition of the scene shows
a tableau of three men lined up in the order of social power in the community.
The positioning of the three men shows Juan on the right, drug addict on the
left and the distributor in the middle, in the journal 'How to read a
movie' the author writes "usually the person slightly right to
the centre"[22]
is shown as the most "dominant figure"[23].
These positioning choices made by Barry Jenkins symbolises the social
status of these three men, in the middle we see the distributor of the drugs or
the 'middle man' in this scene literally and figuratively the 'middle
man' because he stands in the middle of the two characters showing him as
the connector in their relationship. To add, the lighting is important in
this scene, it is daytime due to the lightness of the colour although the
connection between the men is drugs which is more of a negative and dark
feeling. The fact it is bright outside and there is no shadows, for them to be
discreet, symbolises the comfort Juan has in his job and shows he is not
trying to hide parts of his life.
We see a major shift in power dynamic as the camera circles back
to Juan after the distributor takes the money from the addict and goes on to
tell another man in the background to chase after the distributor. The
change in power dynamic is seen through the positioning of
characters, the man in the black shirt (distributor) was standing on the right
hand side of the screen, when talking to the addict, being the man in
power, now within a few seconds we witness Juan standing to the right hand side
of the scene controlling. In the previous scene the distributor has
significantly more power than he does now because the addict was
dependant on him, now that the addict is no longer in view, the 'middle
man' no longer appears to have any power. This illustrates the theme of
dependency in the film, whether it be addict's dependency on the drug
distributor, Chiron being dependant on Juan or Paula (Chiron's mother) being
dependant on the drugs Juan supplies. The dialogue itself shifts from
"empty the register on the weekend" to "How's your mom
doin'", this sudden shift changes the whole mood of the scene, this
fashion symbolises that characters do have more complex lives which
aren't of those an audience may perceive a drug dealer would have. Jenkins
further goes to break the stereotypes of Black men and just as he does
with Chiron in the film. Black men in film which hold narratives of drugs,
rap, sex etc. would be shown as tough uncaring such as Dough Boy in 'Boyz N The
Hood'[24] to anyone and would only be there to sell
drugs and kill, having Juan mention his distributors mother and state that
"She's in my prayers" subverts the negative stereotypes of Black
men as overtly violent and hyper masculine in films. Note, in this scene,
the camera has stopped moving in the scene, the stillness of the
camera symbolises the stability of the conversation. When the camera was moving
drugs were the conversation at hand, now that the conversation shifted to
family the camera has become still and stable in movement,
positioning the audience to catch their breath and provides a strong
transition for the next scene where they speak of their families.
The use of body language from the actor also reinforces
the loss of power, as the man bends his
back standing low and rubbing his hands on pants while also making minimal eye
contact with Juan as he moves his head rigorously around. The tone of the
actor has become softer from the loud and demanding voice used against the
addict who was not able to give the right amount of cash for his drugs.
These physical movements shown from the distributor, shows both his
lack of power and Juan's ability to make others feel small and inferior to him.
The addition to the build of the actor Marhershalla Ali adds to the strong and
mindful characterisation of Juan, the post colonial theory[25] would
reinforce the idea of large Black men as menacing, strong and scary from times
of the slave trade which have trickled into ideologies shown in both film and
media. This would be both a positive stereotype[26] as
those who do fit this image would be represented and are part of this image and
shouldn't be considered less, however, subverting from such 'negative'
images would be used in media to show another image of Back men one of
which isn't that of the 'scary Black man' seen in from Blaxploitaion films
and in modern films. Over the course of this scene, Barry Jenkins is not
only setting up the plot but also introducing the audience or viewer to crucial
themes which will play major roles throughout the film.
Currently, more than ever, there is an outcry
for both more diversity of POC (People of colour) and representations of those apart
of the LGBT+ community. Representations of Black homosexual males in Hollywood
is limited: Movies such as 'Leave it on the Floor'[27], 'Paris
is Burning'[28]
and the character Lafayette in series 'True Blood' [29]all
of these characteristics are an over exaggeration of Gay men, they are
overly flamboyant, have accentuated high pitched voices and etc. which may not
be a true representation of all Black males. They do, however, represent a part
of what it means to be Black and Gay and show he struggles and
misconception of them that others hold. Black men in History have
the perception of strong, big and violent. These traits, because of the
representation of Black men during times of the Slave trade (sexualisation,
bestial imagery, literal beasts, property)[30]
and Post-Segregation (Overly-sexual, thieves, violent 'other') reinforce the
idea of Black men being a form of two; an overtly flamboyant Black man and the
angry/aggressive one. The Queer theory which emerged in the 1990s to examine
non-straight works in media texts and how the representation of Gay people in
film.
This theory would communicate to ‘Moonlight’ as
it was applauded for its acclaimed ‘moonlight scene’ where two of the boys are
at the beach watching the moon. As Chiron meets
Kevin at the beach, who having realised is Chiron's crush at this point,
it is hear we witness Chiron opening up to Kevin next to the water which is a
follow up scene to the initial beach scene with young Chiron and Juan,
considering how much more open Chiron remains in this beach setting compared to
the first especially when he looks up to the moonlight. This contrasts
Chiron's character and the effect of Juan being a father figure, he was
able to talk more and open up about himself with Juan as he was never given
that emotional vulnerability with Paula while talking to Kevin at the
beach left him more silent and speaking less words. This may be due to the
subject they talk about as they speak openly about crying, Chiron recalls how
he felt he cried "so much I just turn to drops" and Kevin
replies with "You just roll out into the water right?” The
ability for two Black boys to openly their feelings especially about
crying subverts violent images of Black boys created in movies (Bad Boys,
Kidulthood) and masculinity in Black men and how they are presented neither
does it “emasculate” them for doing so. Film scholars such as Teresa de
Lauretis take on the Queer theory analysis as “the processes undertaken to
normalise heterosexuality in classical cinema”[31]
and with ‘Moonlight’ Jenkins normalises the sexual wakening between the two
subtly, while Hollywood over exaggerates the Black gay man and makes gays
scenes “rampantly heterosexual”[32],
‘Moonlight’ enables these two boys who already have stereotypes created for
them through media are sitting there in their own world talking about their
feelings and going against the perceived anger of the Black man further
highlights the movies ability to subvert these norms of Black men and just be.
Barry Jenkins shows “positive association for Black men”[33] which
are “limited”[34]
in film media and texts of society he uses stereotypes already created by
society to represent a realistic and cathartic characters in the movie
‘Moonlight’. Though “nothing has changed since the 1970s”[35], the
time of the exploitations of Black audiences, “stereotypes have a complex
relationship with ‘reality”[36], the
Black man’s image homosexual or otherwise has been changing constantly in film
and the crisis of masculinity[37] is a
positive step forward for the subversion of the negative stenotypes created of
Black men. Though the toxic masculinity is highlighted, each characters holds a
spectrum of identity of masculinities which are “different”[38] and
both subvert and conform only just to communicate to a twenty-first century
audience the realism and complexity of the Black. Where young boys cry, hug and
seek comfort within each other; where the idea of a “soft”[39] Black
goes against the perceived norm and the beautification of the violent Black men
seen “[shining] blue”[40] -
‘Moonlight’ does goes further in using the toxicity of hyper-masculinity as a
tool to create images of a realistic spectrum of the Black man, subverting
images and ideologies of an audience all to hidden and mistreated in the media.
Zadie Smith stated at a Ted-X talk “some are brutalised but not all become
brutal”[41] a
mirror of ‘Moonlight’ ability to do just that.
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78.
[4]
Perkins, T. Stereotype Theory. (1979)
[5]
Dines, G. (2003). p.458.
[6] Black
Hollywood: Blaxploitation and Advancing an Independent Black Cinema. (USA,
2008, dir.: Howard Johnson).
[7] ibid.
[8] Shaft. (USA, 1971,
dir.: Gordon Parks)
[9] Levant, Ronald F. (1996). p.259–265
[10] Back to the Future
(USA, 1985, dir.: Robert Zemeckis
[11] The Terminator
(USA, 1984, dir.: James Cameron)
[12] Connell, R. (1993).
p.37.
[13] Huffington Post.
(2017).
[14] Media Magazine.
(2008). p.21.
[15] Three Time (Taiwan,
2005, dir.:. Hsiao-Hsien Hou)
[16] Film School Rejects.
(2017).
[17] Lawrence, N. (2008).
[18] Russel-Brown. (2009). p.84
[19] Goodwin, A. (2016).
[20]
Lacey, N. (1998). p.143
[21]
Poter, M. (2006). p. 5
[22]
Ebert, R. (2008)
[23]
ibid
[24]
Boyz n the Hood (USA, 1991, dir.: John Singleton)
[25]
Fanon, F. (1952)
[26]
Perkins, T. Stereotype Theory. (1979)
[27]
Leave it on the Floor (USA, 2011, dir.: Sheldon Larry)
[28]Paris
is Burning (USA, 2007, dir.: Jennie Linvingston)
[29]
True Blood (USA, 2008).
[30]
Davis, Gary L.; Cross, Herbert J.
(1979). p. 269–279.
[31] Samer, R. (2017)
[32] Dines, G. (2003)
[33] The Opportunity Agenda (2011)
[34] ibid
[35] Donaldson, L. (2015). The Guardian
[36] Calvert B. (2002). p.168
[37] Raisen, Ross. (2017). The Guradian
[38] Connell, R. (1993). p.37
[39] Piner, Jaden. (2017). Moonlight
[41] Smith, Z. (2017).
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